Six Harpsichord Sonatas

In performing the “Sei Sonate per il clavicembalo” by Antonio Ferradini, one must bear in mind that the composer adhered to the aesthetic of the Stile Galante, the 18th-century musical language which, through ever increasing sentimentality, “leads to the dissolution of a baroque unity, to the contrast of expression, […] and lastly, to ‘graciousness’ as the final aim of composing”.
All the sonatas feature passages of pathos, contrasting and repeated themes, and pre-romantic ideas exhibiting a ‘sensibility’ which emphasizes the passions of the soul.
The favored ‘affects’ of Ferradini are delicacy, languor and tenderness, and the performer must make use of the rhythmic freedom of Tempo Rubato in order to portray them.
Despite this, however, melancholy is not the only representative trait: Allegro movements con brio with elegantly flowing scales and arpeggios alternate with Adagios, and technical difficulties are inevitably proposed with grace and lightness.